Flood Plain
When water overflows a river's banks, adjacent flood plains will respond with processes of absorption and dissipation. For the poet, such landscapes are models for damage control, a potential source of hope, and perhaps endurance, in an age of ongoing ecological disaster. In her stunning fifth collection, Flood Plain, Lisa Sewell finds fertile ground on which to examine the urgent questions of our age: What does it mean to live on a dying planet? How are we, as humans, meant to respond? And how, at last, can we grieve?Sewell's poems remind us of the vital roles that imagination and conscience must play in our anthropogenic age. In "Estuary," a pseudo sonnet crown at the center of this collection, each poem describes a shift in the landscape and the poet's posture. Taking cues from the other bodies she encounters, be they harbor seals, "believers in total immersion," the river itself, its "murky face," or the estuary's "inscrutable marshy heart," Sewell, in these poems, reflects their movements, their gestures, emphasizing our responsibility toward and embeddedness in the more-than-human world.The poems of Flood Plain might be put forward as a type of evidence, data or samples carefully collected for study. But they are also much more than this-they are the poet's own testimonies, first-hand records revealing, page after page, her powers of observation and witness. "The flood plain is a field again," Sewell writes in "Restorative Justice," a reminder that natural disasters take many forms. "The flowers will last until the first snow / of winter as everything conspires / to bury us in what we couldn't see or imagine." Indeed, poetry may be our flood plain: the site on which we absorb these truths, and the means to process the weight of it all.